Donovan Germain 30 Years of Penthouse Interview Donovan Germain 49 Interview Remembering Joseph ‘Culture‘ Hill by Angus Taylor Photos by Steve James

Total Page:16

File Type:pdf, Size:1020Kb

Donovan Germain 30 Years of Penthouse Interview Donovan Germain 49 Interview Remembering Joseph ‘Culture‘ Hill by Angus Taylor Photos by Steve James INTERVIEW DONOVAN GERMAIN 30 YEARS OF PENTHOUSE INTERVIEW DONOVAN GERMAIN 49 INTERVIEW REMEMBERING JOSEPH ‘CULTURE‘ HILL BY ANGUS TAYLOR PHOTOS BY STEVE JAMES Donovan Germain’s Penthouse Records Riley, Shuga, and Exco Levi. There’s even a celebrates its 30th anniversary this year. And posthumous appearance by Joseph himself the Jamaican producer will mark the occasion with soon-to-be-released-from-jail legend with a double album tribute to one of Roots Buju Banton. Reggae’s formative groups, Joseph Hill and Angus Taylor spoke to Donovan by phone Culture. Remembering Joseph Hill features in Jamaica. As well as sharing his methods clean, respectful rhythms by the island’s top and motivations for the Culture project, the musicians and the usual Penthouse roll-call impresario announced he is working on a of multigenerational vocalists. These range Marcia Griffiths-led homage to his biggest from veterans of Culture’s time like Marcia influence, Studio One Records. He’s also Griffiths, Trinity, and George Nooks to writing his autobiography: documenting a life newer Penthouse favourites Etana, Tarrus in Reggae and Dancehall music. Congratulations on your Remembering Joseph Hill album. What’s your personal history in terms of Culture and their music? Joseph was one of my favourite artists so it is really a pleasure to have the younger ge- neration interpret his work. I got introduced to Culture via [Culture’s producer] Miss Sonia Pottinger because I used to distribu- te for her in New York. That’s when I got to know Joseph Hill, Albert Walker and the other young man. It wasn’t a major interac- tion personally with them. When they came to New York for a show I was with them for part of the day. But Miss Pottinger gave me the opportunity to really distribute a major I am a very spiritual person and I have got label so I give praise for that. Later on I ren- to a point where I think it’s time to educate ted Duke Reid’s studio from her. And I used the younger generation about the artists that to rent [Culture’s other main producer] Joe made a major contribution to the industry Gibbs’ studio a couple of times from Errol before us. Joseph Hill songs were not being Thompson. played on the radio on a regular basis, as I think they should be played. I thought “This Your main influence in production is Coxsone is a good way to re-introduce Joseph‘s work to Dodd. He had a real ear for when it was time this generation - getting these younger artists to do over a song. Why was the time right for to learn the songs and see where Joseph‘s these Culture songs? head was when he was making them.” 50 INTERVIEW DONOVAN GERMAIN What is it that you really like about Culture Listening to the album, obviously Joseph songs? Hill’s voice was very captivating yet when you I love that they were very simple but very take him out of the equation you realise how radically great. It’s like he takes you back well written the songs are. to a time when these things were really Exactly. So true. Some of the artists singing happening. When you listen to Joseph you’re were saying “I didn’t really listen to this visualising things he was singing about. gentleman‘s work!” That was the kind of response I was getting. It was something new How did you select the songs and match them to them. to the relevant artist I just picked the songs that resonated with Some of the artists - particularly Dalton, me. I thought “This artist would sound much Tarrus, Etana, Nicky, and Exco - have much better on this song” or “This particular artist cleaner voices than Joseph’s but it really audience would react to this song by virtue of works. Whereas Buju, Gyptian, Sasco, Tony them singing it“. Like I said, I’m trying to get Rebel, are from that similarly grainy school as Joseph Hill’s work into all these different Joseph. artists’ fan base. That was really my intention Yes. You see Angus, why it works is the lyri- with the artists I picked. But Marcia Grif- cal quality, the context of the lyrics. It doesn’t fiths, she picked her song because she loved matter who is singing the songs, when you it. She does that song on stage in her sets. really listen to the words and the melody it Exco Levi picked the song he wanted also. captivates you. INTERVIEW DONOVAN GERMAIN 51 52 INTERVIEW DONOVAN GERMAIN It’s extraordinary to hear Buju and Joseph’s me in touch with her son Kenyatta. He was in voices together on Natty Never Get Weary - Argentina at the time and he was so happy to you realise just how similar they are. come on board the project. He came through Yes exactly. That track was recorded and re- Jamaica, did his track and he left again. leased a long time ago. I just added it from the standpoint of having a Joseph Hill song on You also have Black Prophet from Ghana the project. I remember I called Joseph out of which adds an African connection… the blue. I was doing a Buju album and I wan- Joseph had a major following Africa. Black ted him to do a track with Buju. He said “Oh Prophet was here in Jamaica doing an album sure” because he was saying him and Buju at the studio and I said “It would be good to were family. He came in, did his track and have an African sing a Joseph Hill song“. So Buju came in and put his words to Joseph‘s that came about when the opportunity to track. But they didn’t spend any time in the presented itself. studio together. It was two different sessions. I interviewed Etana and I asked her if she Joseph’s son Kenyatta is on Stop The Fussing was going to be involved in this project and and Fighting.... she said she didn’t know yet “but if Donovan When I had the idea I went to Joseph‘s wife gives me a call I’ll be there.” Arlene and said to her “I want to make this tri- (Laughs) And I did give her a call! The thing bute album to Joseph‘s work”. I really wanted is, when you’re presenting this project to an her blessing as his wife. And she in turn put artist they can’t refuse the contribution of 54 INTERVIEW DONOVAN GERMAIN this artist! It would be a pleasure for them maintaining a level of freshness with the to be a part of a project honouring an artist label. You have to be bringing new people and of the status of Joseph Hill. Nobody who I new ideas. approached for this project said no! Through the years you have used engineers The range of artists from veterans to new is like Stephen Stanley, Dave Kelly, Tony Kelly, very much part of the Penthouse tradition. and on this project you use Shane Brown and And it’s the same for the musicians. You’ve Kevino Elliot. What do you look for in a good got the top players of today’s generation like engineer? Kirk Bennett and Monty. And you’ve got peop- I look for someone who is professional, com- le like the great Mikey Chung, Sly and Robbie, mitted and has a love of the music. Someone Glenn Browne, Lenky and so on. who wants to experiment because that’s how There’s no way I could do so many songs with we get things to be different. If there were no the same musicians because there would experiments we would all be doing the same be a certain sameness in terms of creativity. things today. So I look for a person that is wil- Because when you have a younger musician ling to say “Let’s try it - if it works great, and playing with an older musician it’s also a if it doesn’t work we’ll try something else.” learning process for them. To see how the Someone with the distinctiveness you need previous generation do what they do. I also to make something sound good. If I’m mixing look out for quality musicians. They might be something, someone who say “Let’s do it over young but they are quality musicians. That’s because it might be better if we did it this why we have the continuity of the music and way”. That’s what I look for an engineer. INTERVIEW DONOVAN GERMAIN 55 People are very excited that Buju is going to You mentioned Marcia Griffiths earlier. She be released from jail. I assume you have plans worked with both Miss Pottinger and Cox- to work together. sone. How did you first meet her back when I’m going to be integrally involved in the Penthouse started? making of his new album. As far as I know, There was this track [by Fleetwood Mac] that’s my involvement in making that album. Everywhere. I figured Marcia Griffiths is But I’ll wait for him to come out because you my all-time favourite female artist, hands have to have the energy. I don’t want to be down. I was saying to myself “If I’m coming making anything before he gets out. into the music industry I have to be recording certain artists to get people to look at my Do you think that Buju will bring something label.
Recommended publications
  • Download (2399Kb)
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 84893 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications Culture is a Weapon: Popular Music, Protest and Opposition to Apartheid in Britain David Toulson A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in History University of Warwick Department of History January 2016 Table of Contents Acknowledgements………………………………………………………………...iv Declaration………………………………………………………………………….v Abstract…………………………………………………………………………….vi Introduction………………………………………………………………………..1 ‘A rock concert with a cause’……………………………………………………….1 Come Together……………………………………………………………………...7 Methodology………………………………………………………………………13 Research Questions and Structure…………………………………………………22 1)“Culture is a weapon that we can use against the apartheid regime”……...25 The Cultural Boycott and the Anti-Apartheid Movement…………………………25 ‘The Times They Are A Changing’………………………………………………..34 ‘Culture is a weapon of struggle’………………………………………………….47 Rock Against Racism……………………………………………………………...54 ‘We need less airy fairy freedom music and more action.’………………………..72 2) ‘The Myth
    [Show full text]
  • The Dub Issue 15 August2017
    AIRWAVES DUB GREEN FUTURES FESTIVAL RADIO + TuneIn Radio Thurs - 9-late - Cornerstone feat.Baps www.greenfuturesfestivals.org.uk/www.kingstongreenradi o.org.uk DESTINY RADIO 105.1FM www.destinyradio.uk FIRST WEDNESDAY of each month – 8-10pm – RIDDIM SHOW feat. Leo B. Strictly roots. Sat – 10-1am – Cornerstone feat.Baps Sun – 4-6pm – Sir Sambo Sound feat. King Lloyd, DJ Elvis and Jeni Dami Sun – 10-1am – DestaNation feat. Ras Hugo and Jah Sticks. Strictly roots. Wed – 10-midnight – Sir Sambo Sound NATURAL VIBEZ RADIO.COM Daddy Mark sessions Mon – 10-midnight Sun – 9-midday. Strictly roots. LOVERS ROCK RADIO.COM Mon - 10-midnight – Angela Grant aka Empress Vibez. Roots Reggae as well as lo Editorial Dub Dear Reader First comments, especially of gratitude, must go to Danny B of Soundworks and Nick Lokko of DAT Sound. First salute must go to them. When you read inside, you'll see why. May their days overflow with blessings. This will be the first issue available only online. But for those that want hard copies, contact Parchment Printers: £1 a copy! We've done well to have issued fourteen in hard copy, when you think that Fire! (of the Harlem Renaissance), Legitime Defense and Pan African were one issue publications - and Revue du Monde Noir was issued six times. We're lucky to have what they didn't have – the online link. So I salute again the support we have from Sista Mariana at Rastaites and Marco Fregnan of Reggaediscography. Another salute also to Ali Zion, for taking The Dub to Aylesbury (five venues) - and here, there and everywhere she goes.
    [Show full text]
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • STAR Digio 100 チャンネル:476 REGGAE 放送日:2009/6/8~6/14 「番組案内(6時間サイクル)」 開始時間:4:00~10:00~16:00~22:00~
    STAR digio 100 チャンネル:476 REGGAE 放送日:2009/6/8~6/14 「番組案内(6時間サイクル)」 開始時間:4:00~10:00~16:00~22:00~ 楽曲タイトル 演奏者名 REGGAE VIBRATION RASTA SHOULD BE DEEPER JUNIOR KELLY DICK TRACY DEAN FRASER FAMILY AFFAIR SHINEHEAD Zungguzungguguzungguzeng YELLOWMAN CB 200 DILLINGER JAVA AUGUSTUS PABLO REGGAE MAKOSSA Byron Lee & The Dragonaires CUMBOLO CULTURE IT A GO ROUGH Johnny Clarke Got To Be There TOOTS & THE MAYTALS AIN'T THAT LOVING YOU STEELY & CLEVIE featuring BERES HAMMOND (featuring U-ROY) Can I Change My Mind HORACE ANDY Ghetto-Ology SUGAR MINOTT RED RED WINE UB40 BUJU BANTON (1) RASTAFARI BUJU BANTON UNTOLD STORIES BUJU BANTON MAMA AFRICA BUJU BANTON MAYBE WE ARE BUJU BANTON PULL IT UP BERES HAMMOND & BUJU BANTON Hills And Valleys BUJU BANTON 54 / 46 BUJU BANTON featuring TOOTS HIBBERT A LITTLE BIT OF SORRY BUJU BANTON FEELING GROOVY BUJU BANTON Better Must come BUJU BANTON MIRROR BUJU BANTON WHY BUJU LOVE YOU BUJU BANTON We'll Be Alright BUJU BANTON feat. Luciano COVER REGGAE With A Little Help From My Friends Easy Star All-Stars feat. Luciano YOU WON'T SEE ME ERNIE SMITH COME TOGETHER THE ISRAELITES WATCH THIS SOUND THE UNIQUES Holly Holy UB40 BAND OF GOLD SUSAN CADOGAN COUNTRY LIVING (ADAPTED) The mighty diamonds MIDNIGHT TRAIN TO GEORGIA TEDDY BROWN TOUCH ME IN THE MORNING JOHN HOLT Something On My Mind HORACE ANDY ENDLESS LOVE JACKIE EDWARDS & HORTNESE ELLIS CAN'T HURRY LOVE~恋はあせらず~ J.C. LODGE SOMEONE LOVES YOU HONEY STEELY & CLEVIE featuring JC LODGE THERE'S NO ME WITHOUT YOU Fiona ALL THAT SHE WANTS PAM HALL & GENERAL DEGREE JUST THE TWO
    [Show full text]
  • Katchafire - LEGACY
    KatCHAFIRE - LEGACY NEW ZEALAND ROOTS REGGAE LEGENDS KATCHAFIRE'S LEGACY CONTINUES INTO 2020 NZ – https://umusicnz.lnk.to/KatchafireLegacy WORLD exNZ - smarturl.it/katchafire-legacy KATCHAFIRE have created a universal vibe, crafting their sound from the foundations of classic roots reggae with an R’n’B and funk rub, fusing modern dancehall and with slinky pop, cool grooves and uplifting vibes. They released their highly anticipated 5th studio album 'LEGACY' (Universal NZ / Zojak Worldwide) on 1st June 2018, and within hours hit No.1 on the New Zealand iTunes album chart and No.1 on the USA iTune Reggae chart. The 'LEGACY' album also impacted iTunes charts around the world... No.1 in Fiji, No.8 in Poland, No.24 in Australia, No.56 in Lichtenstein and Ivory Coast, No.57 in USA, Bangladesh, Cameroon, Ethiopia, Maldives, Myanmar, Palestine and Libyan Arab Jamahiriya!! The 'LEGACY' album has spawned 5 singles & videos - 'Addicted', 'Way Beyond', 'Love Today', '100', and 'Fyah In The Trenches'. The‘ LEGACY’ album is exciting and fresh with messages of love, hope, togetherness, and family, featuring 12 brand new songs that the boys worked on between their extremely busy touring schedule, bringing you vibes, sounds and harmonies you expect from the brothers of the ‘Fire with some brand new feels and flavours sprinkled in the recipe. page 1 / 8 Hailing from Kirikiriroa in Aotearoa (Hamilton in New Zealand) KATCHAFIRE have become a global roots reggae phenomenon. The all Maori reggae band bring their pure classic sound to music lovers worldwide delivering one of the most authentic Reggae shows around today.
    [Show full text]
  • 71 Reggae Festival Guide 2006
    71 71 ❤ ❤ Reggae Festival Guide 2006 Reggae Festival Guide 2006 Reggae Festival Guide 2006 RED, GOLD & GREEN MMEMORIESE M O R I E S Compiled by Wendy Russell Alton Ellis next started a group together: ALTON ELLIS AND THE There are reggae artists I treasure, with songs I FLAMES. The others had their careers too and I later started my play every radio show, no matter that the CD is no own group called WINSTON JARRETT AND THE RIGHTEOUS longer current. One such artist is roots man, WINSTON FLAMES. JARRETT and the RIGHTEOUS FLAMES, so I searched him out to fi nd what might be his own fond memory: We just had our history lesson! Can you imagine I grew up in Mortimer Planno, one of Rastafari’s most prominent Kingston, Jamaica elders, living just down the street? What about this in the government next memory - another likkle lesson from agent and houses there. manager, COPELAND FORBES: The streets are My memory of numbered First SUGAR MINOTT is Street and so on, from 1993 when I to Thirteenth Street. did a tour, REGGAE I lived on Fourth, SUPERFEST ‘93, ALTON ELLIS lived which had Sugar on 5th Street. He Minott, JUNIOR REID was much older and MUTABARUKA than me, maybe along with the 22. We were all DEAN FRASER-led good neighbors, 809 BAND. We did like a family so to six shows in East speak. MORTIMER Germany which PLANNO lived was the fi rst time Kaati on Fifth too and since the Berlin Wall Alton Ellis all the Rasta they came down, that an come from north, authentic reggae Sugar Minott south, east and west for the nyabinghi there.
    [Show full text]
  • Culture Zion Gate / Fool Say No God Mp3, Flac, Wma
    Culture Zion Gate / Fool Say No God mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Zion Gate / Fool Say No God Country: Jamaica Released: 1999 Style: Roots Reggae, Dub MP3 version RAR size: 1242 mb FLAC version RAR size: 1399 mb WMA version RAR size: 1703 mb Rating: 4.7 Votes: 633 Other Formats: AAC VOC AC3 APE AHX ASF DXD Tracklist Hide Credits Zion Gate A –Culture Written-By – J. Hill* B –Kandy Man* Fool Say No God Companies, etc. Published By – Joe Gibbs Music Corp. Distributed By – Joe Gibbs Records Credits Producer – Joe Gibbs Other versions Category Artist Title (Format) Label Category Country Year Culture / Maloney Culture / Maloney Brown & Joe Gibbs none Brown & Major Major Facts - Zion Gate / Fool Record none Jamaica 2001 Facts Say No God (7", RE) Globe Culture / Maloney Culture / Maloney Brown & Joe Gibbs none Brown & Major Major Facts - Zion Gate / Fool Record none Jamaica 2001 Facts Say No God (7", RE) Globe Related Music albums to Zion Gate / Fool Say No God by Culture 1. Dennis Brown, Dhaima - A True 2. Dennis Brown / Joe Gibbs & The Professionals - Should I 3. Dennis Brown / U Brown / Joe Gibbs & The Professionals - Say What You Say / Honey Money / The Girl Is Mine 4. Jacob Miller, Joe Gibbs & The Professionals - Back Yard Movement 5. George Nooks - Zion Gate 6. The Culture - The Concorer 7. Dennis Brown & Big Youth - Running Up And Down 8. Culture - Two Sevens Clash 9. Culture / Joe Gibbs & The Proffesionals - Natty Dread Taking Over / Natty Gone Clear 10. Culture - Culture Dub.
    [Show full text]
  • Interview with Donovan Germain 25 Years Penthouse Records
    Interview with Donovan Germain 25 Years Penthouse Records 02/19/2014 by Angus Taylor Jamaican super-producer Donovan Germain recently celebrated 25 years of his Penthouse label with the two-disc compilation Penthouse 25 on VP Records. But Germain’s contribution to reggae and dancehall actually spans closer to four decades since his beginnings at a record shop in New York. The word “Germane” means relevant or pertinent – something Donovan has tried to remain through his whole career - and certainly every reply in this discussion with Angus Taylor was on point. He was particularly on the money about the Reggae Grammy, saying what has long needed to be said when perennial complaining about the Grammy has become as comfortable and predictable as the awards themselves. How did you come to migrate to the USA in early 70s? My mother migrated earlier and I came and joined her in the States. I guess in the sixties it was for economic reasons. There weren’t as many jobs in Jamaica as there are today so people migrated to greener pastures. I had no choice. I was a foolish child, my mum wanted me to come so I had to come! What was New York like for reggae then? Very little reggae was being played in New York. Truth be told Ken Williams was a person who was very instrumental in the outbreak of the music in New York. Certain radio stations would play the music in the grave yard hours of the night. You could hear the music at half past one, two o’clock.
    [Show full text]
  • Pablo Moses INTERVIEW
    MAGAZINE #3 - December 2010 Rootz Underground Live in Kingston Horace Andy & Scientist Tippy Lloyd Brown Don Chandler Glen Washington Duane Stephenson Pablo Moses INTERVIEW * Israel Vibration * Sadiki * Cornadoor * Clinark * Alpheus * * Trojan * Buju Banton * Gappy Ranks * Special Delivery * J Boog * * Lloyd Brown * Frenchie * Pow Pow * Konshens * United Reggae Mag #3 - December 2010 Want to read United Reggae as a paper magazine? In addition to the latest United Reggae news, views andNow videos you online can... each month you can now enjoy a free pdf version packed with most of United Reggae content from the last month.. SUMMARY 1/ NEWS •Lloyd Brown - Special Delivery - Own Mission Records - Calabash J Boog - Konshens - Trojan - Alpheus - Racer Riddim - Everlasting Riddim London International Ska Festival - Jamaican-roots.com - Buju Banton, Gappy Ranks, Irie Ites, Sadiki, Tiger Records 3 - 9 2/ INTERVIEWS •Interview: Tippy 11 •Interview: Pablo Moses 15 •Interview: Duane Stephenson 19 •Interview: Don Chandler 23 •Interview: Glen Washington 26 3/ REVIEWS •Voodoo Woman by Laurel Aitken 29 •Johnny Osbourne - Reggae Legend 30 •Cornerstone by Lloyd Brown 31 •Clinark - Tribute to Michael Jackson, A Legend and a Warrior •Without Restrictions by Cornadoor 32 •Keith Richards’ sublime Wingless Angels 33 •Reggae Knights by Israel Vibration 35 •Re-Birth by The Tamlins 36 •Jahdan Blakkamoore - Babylon Nightmare 37 4/ ARTICLES •Is reggae dying a slow death? 38 •Reggae Grammy is a Joke 39 •Meet Jah Turban 5/ PHOTOS •Summer Of Rootz 43 •Horace Andy and Scientist in Paris 49 •Red Strip Bold 2010 50 •Half Way Tree Live 52 All the articles in this magazine were previously published online on http://unitedreggae.com.This magazine is free for download at http://unitedreggae.com/magazine/.
    [Show full text]
  • CRESC Working Paper Series
    CRESC Working Paper Series Working Paper No. 60 Copyright and the Conditions of Creativity: Social Authorship in Reggae Music and Open Source Software Jason Toynbee CRESC, Open University November 2008 For further information: Centre for Research on Socio-Cultural Change (CRESC) Faculty of Social Sciences, The Open University, Walton Hall, Milton Keynes, MK7 6AA, UK Tel: +44 (0)1908 654458 Fax: +44 (0)1908 654488 Email: [email protected] or [email protected] Web: www.cresc.ac.uk CRESC Working Papers Copyright and the Conditions of Creativity: Social Authorship in Reggae Music and Open Source Software Jason Toynbee CRESC, The Open University Abstract Against the orthodoxy that copyright is an aesthetically neutral means of providing an incentive for the production of culture, this paper proposes that intellectual property regimes strongly shape the way culture is made. Three cases are examined. The first is rock music whose emergent Romantic mode of creativity in the 1960s was strongly reinforced by copyright law. The second, countervailing example is that of reggae music in Jamaica where, in the absence of effective copyright, a form of social authorship emerged, albeit a strongly entrepreneurial one. The open source software movement, with its explicit repudiation of copyright, provides the final case. Like reggae music it is socially authored. However reggae’s first-to-market business model and entrepreneurial culture actually make it a better guide to how cultural production might be organised in a market system, but without the economic and cultural costs that attach to copyright. 2 Copyright and the Conditions of Creativity Copyright and the Conditions of Creativity: Social Authorship in Reggae Music and Open Source Software Copyright is usually considered to be an institution that comes into operation after the creative moment.
    [Show full text]
  • Anti-Blues Music, Dub and Racial Identity
    Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk Article (Accepted Version) Haddon, Mimi (2017) Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk. Popular Music, 36 (2). pp. 283-301. ISSN 0261-1430 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/67704/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk 1 Mimi Haddon 29.01.2016 ‘Dub is the new black: modes of identification and tendencies of appropriation in late 1970s post-punk’ Abstract This article examines the complex racial and national politics that surrounded British post-punk musicians’ incorporation of and identification with dub-reggae in the late 1970s.
    [Show full text]
  • KCOBA USA 28Th Annual Reunion & Awards Banquet 2011
    Kingston College Old Boys’ Association, U.S.A. 28th Reunion Table Of Contents Advertiser’s Index. 2 The Association . 3 President’s Message . ..5 KCOBA Board of Directors . 7 Message from the Chairman of the Board of Governors . 8 Message from Assemblyman N. Nick Perry . 11 Message from Acting Principal Everton Burrell . 13 Guest of Honor Howard Barrett. 14 Guest of Honor Winston Blake . 17 Guest of Honor Franklyn Campbell . 20 Guest of Honor Pat Chin . 23 Guest of Honor Highland Dobson . 26 Guest of Honor Maureen Lewis . 28 Message from KCOBAs South Florida, Toronto, Atlanta, Jamaica, Tampa . 30 KCOBA USA Inc. Financials. 48 Melbourne’s Nurse Report . 53 Report from Vice Principal, Melbourne Madam Hall . 56 Our Honorees Through the Years . 59 The Program. 60 Past Awardees . 61 David Hunt Memorial Scholarship . 62 Report on KC Chapel Choir . 66 Report on KC Development Trust Fund. 74 Acknowledgements . 84 Fortis Cadere Cedere Non Potest • The Brave May Fall But Never Yield Page - 3 2011028th Reunion Kingston College Old Boys’ Association, U.S.A. Kingston College Old Boys’ Association, U.S.A. 28th 2011Reunion Tribute To Fallen Fortis THE ASSOCIATION Background: tinues to be a beacon of hope for its student Carnel Campbell The Kingston College Old Boys’ Association population. Computer literacy will be insisted USA, Inc. (KCOBA) is a not-for-profi t {IRS upon, as we believe that this is fundamental to Code 501(c)3} organization formed in 1982 and being successful in this third millennium. Kings- Dr. Victor Chang incorporated under the laws of the State of New ton College must maintain its tradition of be- York in 1984.
    [Show full text]